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JOSEPH HAYDN
ORFEO ED EURIDICE
(L'Anima del
Dramma
filosofo)
Libretto
ANALYTICAL NOTES
HAYDN
S
-
ET Y
Copyright 1951
OS
ON
THE CAST
ORFEO
EURIDICE
CREONTE
GENIO
PLUTO
FIRST CORISTA
Hedda Heusser
members
Kammerchor, Vienna
Musicological Supervision:
etc.,
of the
Akademie
^^
,.
wirth (Hamburg)
_._
Richard Wadleigh
_.
of the
The Vienna
State
Opera Orchestra
by
HAYDN
SOCIETY, INC.
(1762)
L'isola disabitata,
Anzione teatrale
SINGSPIELE, ETC.
Der krumme Teufel, Singspiel (Felix Kurz-Bernardon) (1751?). Lost
Der neue krumme Teufel, Singspiel (Felix Kurz-Bernardon) (1758?). Lost
La Marchesa Napoli (1762). Only tiny fragment extant
La vedova (1762). Lost
II
II
(1776)
MARIONETTE OPERAS
Philemon und Baucis (1773) l)
Die bestrafte Rachgier oder Das abgebrannte Haus. Lost
Didone abbandonata (Dido) (1777). Lost
Genovevens
1
)
have been
Staatsbibiliothek.
THE RECORDING
The preparation of Haydn's last opera for recording was without doubt the most ambitious task thus far
assailed by the Haydn Society, for not only was there no score, no orchestral parts, no piano reductions for the
singers but also no tradition in practical execution, as was the case with the Haydn masses, symphonies, concerti, etc. The Society had to prepare Haydn's score from several sources spread over Central Europe. It was
known, of course, that Orieo existed. The elder generation of Haydn scholars believed that the work was
left in
an unfinished
from the
&
and piano reduction with the highpoints of the opera, so to speak (Euridice's death,
the final scene of the last act, Creonte's E major aria and several arias of Orfeo and Euridice together with a
selection of the choruses). It was therefore presumed that this was all that remained of the opera, and this theory
seemed doubly plausible in view of the fact that the opera was never performed. However, Botstiber, the biographer chosen by Breitkopf to complete the unfinished biography by C. F. Pohl, investigated the Autograph
in the Preussische Staatsbibliothek, Berlin, and came to the correct conclusion that the work was "nearly complete". Karl Geiringer (see Joseph Haydn, Potsdam, 1932) studied the Autograph even more thoroughly
and also came to the conclusion that the work was not at all unfinished. What none of these scholars knew,
or could have known
the archives of Prince Esterhzy being then closed to musicologists except by special
permission which was usually not granted
was that an "authentic" copy of the Autograph in the hand1
writing of one of Haydn's copyists
existed in Budapest containing one secco recitative (before Creonte's big
C major Aria) and several arias not found in the Berlin MS. These arias were probably torn out of the main
body of the Autograph and sent to Breitkopf for publication. What was also not known until the Haydn Society
began its intensive research on the subject was that the Autograph was in many cases in no particular
chronological order; nor, for that matter, is the Budapest source. For example, the first chorus ("Ferma il piede,
O Principessa") was found in the second act, after the death of Euridice, where it could not possibly fit
into the text (Euridice sings with the chorus, who tells her to flee from the forest into which she has wandered). An examination of the Budapest MS showed that the opening scene of the opera (Euridice alone)
in full score
tracts
x
)
is
(cat:
136).
first
Act
Ouverture
Autograph only 3
Recitativo
Accomp
(Euridice)
Aria (Euridice)
Recitativo Secco (Corista, Euridice, Orfeo,
2
Budapest, Breitkopf
etc)
Autograph, Budapest
last
page of Entwurf-Katalog.)
Aria (Orfeo)
Recitativo Secco (Corista, Euridice, Orfeo)
Act
Budapest, Breitkopf
etc)
Autograph,
Autograph,
Autograph,
Autograph,
Autograph,
Budapest, Breitkopf
Budapest
Budapest, Breitkopf
Budapest
Budapest
Budapest
Budapest
Budapest, Breitkopf
Budapest, Breitkopf
Budapest
Autograph
III
.")
Chorus ("Ah, sposo
Recitativo Secco (Orfeo, Creonte)
Chorus (Da capo of above, shortened)
Recitativo Secco (Creonte, Corista)
Aria (Creonte)
Recitativo Secco (Genio, Orfeo)
Aria (Genio)
Recitativo Secco (Orfeo)
Chorus
Recitativo Secco (Orfeo, Genio) (Chorus da Capo)
.
Budapest
Budapest
Budapest
II
Act
Autograph,
Autograph,
Autograph,
Autograph,
Autograph,
Autograph,
Autograph, Budapest
Autograph, Budapest
Autograph, Budapest
Autograph
Autograph
Autograph
Autograph
Autograph
Autograph
Autograph
Act IV
Chorus
(delle
Ombre)
Autograph, Budapest
Coro
di Furie
Autograph, Budapest
Autograph, Budapest
Autograph, Budapest
Chorus
Autograph, Budapest
Autograph, Budapest
Recitativo
& Aria
(Orfeo)
Budapest, Breitkopf
Autograph, Budapest
Coro
Autograph, Budapest
di
Baccanti
Autograph, Budapest
Finale
For purposes of recording certain alterations and supplementations of Haydn's often meagre indications
of phrasings, dynamic marks, and even instrumentation had to be made. A few of the major musicological
questions are listed here with our solution. In the entire work, it is not quite clear when Haydn intends the
bassoons to act as part of the Continue and when he intends them to be silent. For Creonte's C major aria at
the end of the second act Haydn gives no separate parts for the bassoons, but it is almost certain that, according to his own wishes as expressed in the famous Applausus letter, 1 ) the bassoons should double the
."
bass part. The same applied to several choruses. In the Recitativo Secco in the fourth act "O signor
Haydn's Autograph and the Budapest copy omit the last three bars of the bass line; while it is possible that
this is intentional, the absence of rests seemed to indicate that Haydn simply forgot to write in the part for
.
1
)
10
cembalo and strings; this was supplied by the editors. In measure 32 of Orfeo's F minor
kopf score and Budapest MS (the aria is missing in the Autograph) have the following:
aria,
both the
Breit-
Violins
Oboes-
Clarinets
iB\>)
[Via
8va]
Bassoons
Bass
By changing the
violin part
marked
to f,
we
is
once more
clear.
For the recording two additional problems arose. One concerned the solo English horns which appear in
Euridice's death scene. Haydn writes, during the last few bars, a series of notes which simply cannot be played
on any English horn, then or now. The Society, therefore, used a bass oboe for these few measures; the difference in tone colour is scarcely noticeable. The second problem concerned the use of the Baroque harp, which
was obtained through the Vienna Philharmonic Orchestra, to whom we are most grateful. For the unaccompanied recitatives, we used one cello and one contrabass in addition to the cembalo (Ammer, Eisenberg;
I-single 8'; II- 4', 8', coupler.). A chorus of 48 voices was used. The solo parts, called "Corista" by the composer,
who come forward in the recitatives were members of the Akademie Kammerchor of Vienna. The following
number of strings were used: eight first violins, six second violins, five violas, four violoncelli and four contrabassi. The opera was recorded during December, 1950 in the Mozartsaal of the Konzerthaus in Vienna, Austria.
Vienna, Austria.
December, 1950
H. C. Robbins Landon
Secretary General
il
HELMUT WIRTH
and completeness. Thus the opera can claim a highly important part in Haydn's creative work. Almost throughout his whole life, the opera accompanies him and fills him with a pride which seems fully justified to us
as his heirs; and yet no one knew his limitations in that sphere better than he himself. His biographer, Griesinger,
writes: "Haydn observed at times that he ought to have written more lyrical music, for he could have become
one of the first writers of operas", and in Phillipp Christoph Kayser's book, "A little of and about Music for the
year 1777", we read the following sentence: "Haydn has as yet written little for the stage. He could do it, if he
wanted to". In comparison to this we have Haydn's letter from the year 1787 to the Provincial Chief Administrator Roth in Prague, which is a good testimonial for the stern criticism Haydn exercised on his own person
and for his humanitarian feeling. As Roth demanded an Opera butia from him, Haydn wrote he could not oblige
him, "because all my operas are tied down too much to our personages (at the court of the Esterhzys), and would
moreover never produce the effects which I have calculated for the locality. It would be a completely different
matter if I would be so inestimably favoured to compose a completely new book for the theatre there. But
even this involves a great risk, as the great Mozart can hardly allow anybody to stand by his side."
Before Joseph Haydn became conductor at the court of Prince Esterhzy, he had already in Vienna, when
19 years old, made contact with the theatre. The famous Viennese comedian, Joseph Kurz, who called himself
Bernardon and enjoyed a great reputation as a writer of farces, invited him to write the music to his German
play, "The Limping Devil" [Der krumme Teufel]. The libretto was based on the novel, "Le diable boiteux", by
Lesage. However, after having been performed twice this piece was prohibited because of its rather vicious
references. Seven years later it was again produced in a new form and entitled "The new Limping Devil" [Der
neue krumme Teufel]. The music to these two "comic operas", as they are called, no doubt with some exaggeration, has unfortunately been lost. It was within the frame-work of the Singspiele performed at that time
and probably had no salient charateristics since Haydn was still very young and, in opposition to Mozart,
needed a long time to form his style and, moreover, had not as yet a particularly salient individuality. In any
case these experiments awakened the interest of the young composer for the musical stage and strengthened
his confidence in the application of music as a means for reproducing theatrical effects. If the disappeareance of
the music to these sung plays is regrettable, it is still more so in the case of the puppet operas which were
largely performed at that time. These works were already composed in the course of the Esterhzy period.
At least we know the names of some of these operas: "Genovevens vierter Teil", "Dido", "Philemon und Baucis",
13
etc.
The
latter is
preserved in a contemporary
MS
in Paris as well as
Haydn
operas were created for the house of Prince Esterhzy. As Haydn commenced his duties there in 1762, both the orchestra and available singers were exceedingly
small in number. This, of course, considerably cramped his style and led to the relatively small range of
effect of the early Haydn operas. The operatic repertory of the princely house showed a deep-seated dependency
all
other
upon Vienna. Haydn himself probably selected the works during his short seasonal stay in the Vienna
residence, taking into due consideration the princely liking for comic operas. Although the French Opera
Comique, and the Singspiele in the style of Leipzig and Vienna dominated more and more, they were unable
to replace the Italian Opera butia, which had its principal representatives in Galuppi, Piccini and Paisiello. Also
the Opera seria, which for a short time flourished again through the attempts of reformation made by Jommelli and Tratta, was so firmly established in the theatrical life that even Gluck did not succeed in breaking
its predomination immediately. In general, Haydn mainly created buffo-operas.
Of course, the Opre srie
stand at the beginning and at the end of his dramatic career. We will see how seriously Haydn took the
Opera butia in later years and how a number of sociological and humanitarian trends can be found in the
works which have remained on the territory of the traditional Opera butia, at least in their exterior appearance.
For this reason Haydn's operas must be considered here in their chronological sequence.
In 1762, three years after having composed his first symphony, Haydn composed his first Opera seria,
"Acide". The picturesque text of the libretto writer, Migliavacca, who is very close to Metastasio, gave him
rich opportunity to experiment in descriptive sound effects as far as this can be seen from the Autograph,
which has only been preserved in fragments 1 ). The overture shows the typical cut of an Italian operatic Sinfonia
and also does not exceed the prescribed number of measures in its thematic content. [Ex. 1], A striking
(7)
Allegro
x
Partly in the Bibliothque de L'Opra, Paris, partly in the Staatsbibiliothek, Berlin, and partly in the Esterhzy archives in
)
Budapest.
example for Haydn's early art of description is the scene in which Galatea learns about the death of Acide.
[Ex. 2]. The opera treats the Acis and Galathea theme, which was also used by Handel, and which can be best
izsz
fe=
F
Io
man
co
de
'
F
li
il-
|l P
? p
igiiipii jp I iH
**r
vor
ro
? p
re
? |J t
ci
(I
de!
under the "favola pastorale", the pastoral narration. In the sense of the old Neapolitan opera, it is
always the same theme which recurs, the same formulas, the same scenes and the likewise well-known "lieta
fine", the happy end, which consoles all opera goers. In "Acide" the hero of the same name, having been
killed with a rock by the giant Polifemo, appears in the last act as mountain spring, to join in the final quartet! Considerations of stylistic nature and of the locality forced Haydn to renounce the chorus, which was
so successfully used by Hndel.
Haydn's next creation for the stage was a comic opera, La Canterina [1766] 1 ). This was indeed no Opera
buffa in the usual sense of the word, but an Intermezzo, which was also very popular and which we can meet
later in Mozart's "Impresario", Cimarosa's "L'imprsario in angustie" or Lortzing's "The Opera Rehearsal".
The basic character of Haydn's work is purely parodie. He remains a parodist up to a point of persiflaging
himself. For Haydn not only makes fun of the Opera seria, but he also mocks his own beginnings with the
"Acide". A tremendous play on words makes "La Canterina" a complete farce and gives the appearance of an
action which is in fact non-existant. The music alone makes out of the parody a burlesque play built up around
the moods of the gifted but unbelievably spoilt singer Gasparina. It corresponds in the main with the highclassified
*)
Autograph
Budapest
15
flown style of the Opera seria. The work begins at first in the style of the Opera bufia without an overture
for it is an Intermezzo 2 ). The melodies hardly distinguish themselves from the imported Italian manner. [Ex.
3],
Moderato
^3
i
m&
fan?.
>
See!
The second scene, however, shows essentially new moments. It is an accompagnato recitative with much
music and few words, characterising the impetuous lover of Gasparina in the forceful style of the young symphonist Haydn [Ex. 4]. This early creation already shows the free manner in which Haydn uses the outward
form
of the Italian
own
special purposes.
2
)
16
it is
air.
this
[Ex.
Allegro di molto
{5)
Haydn
FW
Non
chi
mi a
n?\fi~fi
*
jj
iu
ta
EE
non
a
v'
chi
u32:
m
11
te
non
W=
c
v'
chi
mi
sen
^
te
J333 J
i!
m*
mM ^^m
ml sen
no
21
4a F^
HC
belongs to the parody, for neither the Opera butia nor the Intermezzo knew, in their stage of development of that time, the orchestral recitative, and especially not to such a sentimental extent [Ex. 6].
yet
it
(6) Adagio
^^
p-
^yp
S
fe-
0"
rtr
ife
r *
f,
fete
&
Cembalo, Str.
and therefore negative attitude towards the theme, advances Haydn by one step, i.
step towards the Opera butia itself, which was to determine his work for the stage throughout the next
This parodie,
e.
the
fifteen
17
Haydn's actual and really serious operatic activity commences with the opera "Lo Speziale"
1
[1768] ). The theme deals with human society and with the world of the theatre. The text was written by Carlo
Goldoni, the greatest Italian author of comedies in the 18th century and is a so-called middle-class comedy.
The characters of the piece are taken out of the everyday life; they are realistic embodiments of human frailties, which, of course, seem exaggerated, but which are suitably purged with the aid of the music. These
frailties are especially brightly and humourously represented in the arias. Here, Haydn already shows what
he has learned from the Italian masters. The arias in the buffo operas have no established form; they are
adapted to the type being represented. Thus, a tremendous scope for changes is given when producing
the work. Haydn's "Apothecary" is musically very charming in its looseness. Arias and recitatives relieve each
other without the necessity for sudden scenic cuts. Already we can talk about thoroughly organized action. The
old apothecary, Sempronio, desiring to marry his ward, Griletta, has two young rivals, of which one, Mengone,
posing as apothecary, is employed in the dispensary of Sempronio. Although the introductory aria, sung by
Mengone, avails itself of the treasure of formulas of the Opera bufia which was so highly developed by Galuppi
and Piccini, it is written throughout in a personal style. One is automatically led to think of Mozart's
Leporello when hearing this aria [Ex. 7]. This impression is only strengthened by a second aria [Ex. 8]. The
years.
(Allegro
?)
rp
Tut-to il gior
I
j
-
no
'
J'
pi -sta. pi-sta,
J'*
pi-sta
=3
tf
v-
x
)
18
Autograph
m m
X==
F
che
^r
M
m m
^
vl
'"
-
ta
^P P^^
CT^
SE
m^
tri
CO
53F
sta
(8J
Allegro assai
Per
u^m
gj
di
^
sto
ma -co
Viol.
iy
P^
vi
vuol
del
se
5
*i*
bax-ba-ro
ra
^p
>
J3J"j j j
pS
^P
second rival, Volpino (little fox), is an exceptionally nice part for soprano. In the first act,
Volpino sings an expressive aria in G minor, which closely resembles the Neapolitan "vengeance aria", and
has here, of course, a parodistic function [Ex. 9]. The aria in the third act, too, is not to be taken seriously.
figure of the
(9) Presto
Ij
=0
J
9g^P =
r^r
^
*
m
1
te
j:
41
CB=I
2=
P^T^
A
3=
!rr
We
is
2*
19
girl to
is
masterly characterised by
*
ue-staun al-trano-vl
in the
oh
ta
sen
^Cjjt
ff
J'J'
ti-te
co-me
hWTT
F
pi
a^
P
P=^f
Haydn
[Ex. 10].
Oh
pp
sen-ti-te
IP
*"=5
um&ono
ensemble
art.
further progress
IL^A^I
me
sta.
co
sta
^ ^^
^5
s
-"
In contradistinction to "La Canterina", the final phase of the second act of the "Apothe-
peak of the action in a scene with the Notary Public. It is a type of variation-rondo with
a presto appended, of which there is an abundance in the Opera butfa. The contradictions are very clearly
drawn. In the first part of the finale, Sempronio, the old fool, comes on the stage with what he thinks are the
notaries, who, with the most respectable expression on their faces, begin to draw up the marriage contract.
The orchestra accompanies this with a "writing motif" [Ex. 11]. It is the typical comic situation of the Opera
cary", represents the
un
Un poco adagio
pfrr-ah
Col
la
pre-sen
])
-
Ji
te scrit
tu
f
20
'f
ra
pri-va
ta
re
1^=3
flpf
Pffif
Jij.
m
=rgf ygjj^gjj
Oboe
*Af
p j
sta ac-cor-da
-ta
iUJ *UJ
m
la
bel
P
-
la
p
Quil
let
Sfc
ta
wm
:
buff a.
full
plastic motives
in the
The matter is a totally different one in the case of the succeeding opera "Le Pescatrici [1769] 1 which
likewise goes back to Carlo Goldoni. The musical language becomes more characteristic and the structure
more independent of the Italian pattern. For the first time the "parte srie" appear in the Opera buff a by
Haydn. These are serious parts, which belong to the achievements of the Opera buffa, dating back to the second
part of the 18th century. The text at first shows Count Lindoro, as the only serious part, and we learn only
)
among
the
girls,
is
who
is
organises an examination, where the "fisher" girls Nerina and Lesbina also take part. These,
their
Autograph
Her nominal
man who
father, Mastricco, is
contemplates
life
no longer
(as in
the
21
age
[Ex. 13].
of
(B) Adagio
c_
nsLrip
Son
vec
SOD
chio
if
fur
SOD
bo,
vec
* *
was beginning
SOD
chio
j-j
5=1
j=
fur
bo
lf
has also disappeared 2 ). In "Le Pescatrici", we find at first only hints of this new spirit. The Introduzione, designated as "Coro", in reality, however, only a quartet formed by the comic parts, introduces the rustic atmosphere [Ex. 14]. Various ensembles enliven the three acts of the piece. The ombra scene
the invoking of
Allegro
I'MlT
the shadows
IT
ffr
f
|
f f
|
U lSf\l
has its origin in the Opera seria. The basic idea of all this is again parodie, as in "La Canterina"; however, the production has taken on much finer forms. In accordance with the old usage, the scene
*) One notices similar tendencies in the Sinfonia Lamentatione (ca. 1768), the Sinfonia La Passione
(1768), Symphony No. 34
(D minor), etc.
2
Hamlet, King Lear (the music to King Lear attributed to Haydn is doubtful and appears to be by the contemporary composer,
)
W.
22
Stegmann).
is
in
flat
wind instruments
Andante
(g)
[Ex. 15].
Oreh.
Ftt^
ffep
mm
This
This
is
new
attitude,
PP to
which
is
niim
r f
=-
ya
announced here,
is
an
f*
gg,
1
a
linked in a great chain with the opera "La vera Costanza", which approaches the tragic. This group
is
"Storm and Stress" period of Haydn's creative activity for the stage. It runs parallel
with the development of the symphonic form right to the Paris symphonies [Nos. 82 87] and the string
quartet up to the so-called "Russian quartets" op. 33. "L'Infedelt delusa", termed Burletta, deals with
the conflict between father and daughter. The father wishes to marry his daughter Sandrina to a rich husband in order to profit by this match, whereas the girl has set her heart on a poor peasant lad. As the sister
of the poor lad loves the man who is intended for Sandrina, she tries to get out of it with the help of intrigues
and masquerading comedies. While it was the aristocracy and the middle class in "Le Pescatrici", it is here
the poor and the rich within the middle class which are played against each other. The ensemble in this opera
plays a still greater part than in the preceding works.
Even the introduction seems to give impulse to the action. It begins in a pastoral fashion and is obviously
very close to the Opera seria [Ex. 16]. After this lyrical introduction, Sandrina, the principal female part, appears.
rightly designated the
&
Bel
*)
^^
7n:
Autograph
se
ra
^^
ed
au
ra
J
gra
ta,
J
bel
r
la
|J"3 J
se
ra
ed
au
ra
J~Jj
gTa
ta
23
The contrast between father and daughter is the dramatic exposition. Here, Haydn changes the grouping of the
singers. Old Filippo, Sandrina's father, is the tenor. The same voice is required of the man, whom the father desires
as son-in-law, whereas Sandrina's choice
we even
[Ex. 17].
in
HI
time
**
is
f=m
r
Oct. bassa
18].
zm
/s
we
Allegro di molto
se
J
J
pri-ma
J
di
J'
J.
per-der-la
u ^g
vo-glio ere
^m m m f^
par
Viol.
SB
m
i %
WJ WTJ
3
Basai
f^F^
^m
jjg
fry
\>
f>
g=
used "aria of vengeance", characterizes him well enough. One can imagine Nanni breathing hard with rage and
passionately declaiming during a prelude of only three bars. His sister Vespina merely utters a frightened
24
"Parla!" in
view
about
and tremblingly asks him what has happened to him. As she then
marry Nencio, they both swear vengeance [Ex. 19]. Strangely enough, Sandrina,
to
Presto
whom
the whole
work
at all in the
which was usual in France. Karl Friberth, who worked as singer and producer in Esterhaza, translated the
French libretto by Dancourt into Italian and thus made a theme for an Opera bufta out of it. The French dialogue
was replaced by the Italian Recitativo Secco. The adaptation also made changes in the cast. Not only the limited
personnel at the court was of importance, but also the desire for a clearer structure of the action. Friberth
was an exceedingly able and bright artist who was eager to work out the theme of the "Entfuhrung aus dem
without any secondary characters, if possible. Many a fine point of which
Serail"
for this is the real subject
use with precious humour is missing in Friberth's libretto, for instance the figure of the mad
painter Vertigo, the first "original genius" on the stage of the "Storm and Stress" period. In the Friberth-Haydn
version, the painter only plays an indirect part; Prince Ali, in the moment of greatest danger, dons a painter's
frock, and places himself in front of a canvass, which by a happy coincidence happens to be there, in order to
distract the attention of the guardians of the Harem, who were persecuting him and Rezia. This opera, which,
shortly before the last war, was resuscitated from an unmerited oblivion by Helmut Schultz 1 ) with great success, contains a vast number of happy ideas. In all probability, Gluck's charming work determined Haydn not
to economise with ideas. In spite of the associations with the Italian Opera bufta, Haydn's composition surpasses
Gluck made
full
contempory production, and if it would not be for Gluck's totally different manner of writing, one
could doubt which of the two works is to be given preference. How carefully Haydn set about his work is
proved by the secco recitatives, which the Italian composers, for instance, did not especially elaborate. There
are a number of sketches by Haydn in existence in which he has consciously changed the recitatives. His aim
for concentration on the essentials was probably in accordance with the adaption by Friberth, who often energetically condensed the talkative length of the French dialogues. Haydn, however, penetrates into the character of the parts to an extent which is, even for him, most extraordinary. He sets a series of various types
of arias against the small types of songs of Gluck's Singspiel. Thus Haydn's "L'Incontro improvviso" is the first
comic opera in which the most varying creations are equally united in one and classified according to purely
musical and dramatic considerations. The well known opera intrigue is limited to the part of the lying Calender,
a beggar monk, of whom Haydn makes good use. Serious and gay parts are mixed. The action, too, which was
placed in the East, marks the new way which corresponds to Haydn's humanitarian spirit. Despite this, the work
by
far the
*)
26
remains connected with the aristocratic sphere of the Esterhzys, with that super-refined culture which, by its
tolerant attitude, was open to everything that was new.
The special position of this opera becomes apparent through its recitative. The sixth scene of the first
act is a wholly serious accompagnato recitative of Prince Ali, in which he gives way to his desperate spiritual
condition. A longing motive of the 1st violin describes his loneliness [Fig. 20]. Accompanying the words
(2
I
^J
J I 1
|
ab-ban-do- na
to,
af
|J
flit
sen
SP S
*
i r p r p
to,
^^
za
co
p
stan
*
*
p
za
"Povero mio core, tu palpiti?", a new motive commences which makes the sentiment ever more penetrating
[Fig. 21]. Ali's thoughts turn to Rezia. In the allegro part, he shows his hatred for the Sultan [Fig. 22]. After
"TJTJ^LJ
J JfgfEJ
b
however, he collapses. The recitative fades out. For the first time, Haydn here succeeds in creating the
phsychological deepening of word and scene. The individual human being with his individual fate replaces the
this,
27
seria. "L'incontro
Allegro
jy
p|f
che
^fE
mm
Uf
fe
li
guo
cez
PUT
la dol
re!
IE
mm
za ed
sa
il
Hi
fl
J5
e=Je
po
re
fan
no
ral
le
grar
il
cor!
mm
221
commences with a song sung by Osmin, Ali's servant; only in the third
act he lets the "dervish" sing a sarcastic song on the stupidity of the people, who want to see real servants of
Allah in the "Calenders". This song became famous through Mozart's piano variations K.-V. 455 [Ex. 24]. Haydn
are completely different. His opera
Andante
m
(24)
les
by
far surpasses
Gluck
hom-mes
pi
eu
se
ment
r |
pour
la
Oq f
tons
nous
tien
nent
still
act
very stereotyped in
comic opera. Heroic qualities of Prince Ali can be sensed in Haydn's work as soon as the recitative of
the sixth scene; they become still more apparent in his two arias, especially in the aria, "Il guerrier", to which
this
28
we can
find
Weber's Hiion has in Oberon. Rezia, too, is more independent than in Gluck's work. Her moving aria in the
first act reminds one of Eurilda's aria from "Le Pescatrici" [Ex. 26]. Completely in the Neapolitan style, how-
$^
Andante
Quan
to af
flit
to
mi
-X
m n^ ^m
J
r
sor-pren-de
or
con -ten
to
vi
ta
ren-de
her great aria in C major in which the triadal thematic content belongs to the favourite requisites of
that time; but here too Haydn allows motives of the Opera butta to influence him. It is the ensembles which
form the musical climax. To his most beautiful inspirations belongs the terzetto, which Rezia sings with her
ever,
is
echo
29
manner
neous
[Ex.
After
27].
&l
f
<L
strictly
^^
=F=F
lo
j>
y^
bra
un
SO
JL
?=
j>
gno
move more
Rezia,
freely.
above
all
.}
&
ff
che_
di
let
ta.
# F #
T"J
J.
^f^
fci
rfi
io
C r
J
J.
sem
beginning
Mi
others,
this
fe
cer
^M
cer
no.
b; bp p
no.
m 90
to
^m
per.
>i
10
to
no.
per
m
mia
mia
per
mia
m
f
ing of the second verse. After this terzetto the lovers' duet must be considered as particularly happy.
It
is
unusual for Haydn, and represents, according to the ancient aesthetics, the key of
"heavenly rapture". This duet represents the lyric peak of the opera. In contrast to Gluck, where the aria of
Ali is the centre and thus reaches the highest sentiment in the longing of the prince, Haydn already sees the
30
is
Moderato
31
Symphony", written
Mondo dlia luna" (1777) stands in sharp contrast to the previous two operas, but the critical brain
of Haydn also rules this gay farce by Goldoni. This applies firstly to the secco recitatives. Buonafede, a precious
name in view of what is to happen, has a longing for the distant: he wants to get to the moon whose key is
1
"Il
major.
flat
lation
series
As soon
aria
is
and
this
of a strange structure.
recitative in
It
the modu-
keep the telescope prepared for Mr. Buonafede. Now a ritornello for strings alone
in D major begins, which reminds us of the andante of the "Schoolmaster" symphony written in 1774 [G. A. No. 55]
with its captivating melody and its gravitational rhythm [Ex. 30]. That he has seen "something very beautiful"
tions to his fake famuli to
a)
Sinfonia
J.J
r-i
Opera
m
b)
trrr
expressed by Buonafede in a short recitative and shorter presto. He continues to turn his
telescope. D major and C major resound and the instrumentation increases in volume. Then he sees the moon
quite clearly. The ritornello starts in E flat major. His longing increases. It takes effect throughout the Finale
of the first act, likewise written in the key of his longing for the moon. In the adagio, the uncanny flickering
movement of the violins can be heard [Ex. 31]. Buonafede believes himself to be near the achievement of his
(i.
e.
the moon)
is
Adagio
Opera, partly in the Berlin Staatsbibliothek and partly in the Esterhazy Archives. Piano score
) Autograph partly in the Paris
published by Edition Adler, Berlin, 1932, edited by M. Lothar.
32
Recording Session
oi
Orieo
in
Vienna.
o
a
>
-c:
"5
Ft
".-=?-
is
$31
^^ H 4^ ^
O
a
a
a
He
aim.
takes leave in B
flat.
Then he works up
to
flat
major,
fails to
Largo
(3$)
jm
SSI
r
rfr
rfr
rfT
rTr
t
rf
=
r
*f=*
r f f
(ca. 1776)
ing to create. Humanitarian and sociological concepts have the greatest influence here.
spread
Haydn
Joseph
but by
Haydn
Haydn
who
advance to concentrate. Especially in the third act, scenery and music are concentrated
to the utmost. There are, however, likenesses. The two arias of Baroness Irena are similar in key and character.
These are arias in the Neapolitan style, purposely sung by persons of social standing. The thematic material,
scenery,
*)
tried in
Complete holograph copy in the Paris Conservatory Library; sketches and fragments
-
33
too,
shows likenesses
@
^*-s
[Ex. 33].
Much more
important, however,
is
A f
Anjossi
first act,
by which we con-
Haydn
unknown
altogether
>t
Tupren-diin
o-gnil-stan
te
per
to
more
Still
surprising
mo-scaun e
le
1
i
-fan
te,
an
is
p
gril
lo
b
per
ca-val
lo
completely the same in both cases. This scene was probably originated by Anfossi, as the distraught character of it does not seem to be in keeping with Haydn's style. If we
compare the recitatives of the first act, we can also find some similarities. These mutualities, however, are
again contrasted by a vast number of differences, which can be seen from the beginning. Haydn amalgamates
overture and Introduzione to one and thus achieves a very dramatic beginning which sets the basic key for the
entire opera, whereas Anfossi commences with an ordinary Sinfonia in three movements. His Introduzione
remains independent, more an illustrative description of the gale which dominates the introduction than the
great scene of the count in the second act
is
same on the acting parts. Similarity to Haydn could only be found in the orchestral movement accompanying the words of the Baroness. Anfossi, however, remains within the sphere of the buffo, even
spiritual effect of the
34
Haydn
brings
human
The contrast
is
A.f
i
Con
no
m
ne
te
ro
so
spi
$E3
Ro
ro ah
si
aa"
mi
jji
di
ce -va
mm
accompagnato recitative. Anfossi's quiet and careful transition from the secco to the accompagnato is contrasted
by Haydn's more accentuated dramatic scene. The big scene and aria of Rosina in the second act likewise show
far-reaching differences. Anfossi's E flat major is contrasted by Haydn's gloomy F minor, which he chooses for
Rosina's outburst of despair. The Italian is aiming for an obviously clear interpretation of the dramatic situation, whereas Haydn interprets the sorrowful feeling of loneliness from within. He considers the dramatic as
a mirror of spiritual events [Ex. 36]. The difference between the two love duets in the third act is similar. For
&
fe
Va -do,
f#^3
r^ffl*
85
***
iM
ma
nm ^ *m
m
do-ve,
do -ve
jt
si
volgo
il
pie-de,
do-ve
/7\
sk
jig
il
^
S S
figlio
oh
Dio,
/7\
B^
HH
^m
w=w
co-me potro
sal
m
1
Anfossi this represents the peak of the opera. He writes a piece in many parts with splendid orchestral support
in order to bring out this significance clearly. Haydn uses the duet merely as an echo and a fading of a great
preceding shock. They have only the key of B flat in common.
3*
35
also
"comic" operas contain more serious happenings than comic ones. Basically "La vera Costanza" is a serious opera, not an Opera seria of the old type, but
a musical drama of the type of Mozart's "Marriage of Figaro" in which human claims are much more serious
than at first appears. In the Finales of the first two acts the actors confront each other with the greatest contrast. The principal motive, which Haydn follows up in this work with real sincerity, is the uniting of
two lovers under disregard of social prerogatives. The first Finale brings out the two opposing couples. The
composer has here the possibility to deepen the characters psychologically, and Haydn has made fantastic use of
this opportunity in a way which we do not expect. The second Finale is grouped around a scene with a
duet between Rosina and the count. Violent changes in key indicate the inner tension. The sung parts join
freely with an continous orchestral movement composed out of several themes. An expressive "recital" often
replaces actual singing. Thematic likenesses with the first act can be found as the count enters the scene and
finds only the child instead of his beloved, for which he has been desparately looking [Ex. 37]. The formal
and
rn p
^^ ^
II.
j\J\r
Uj
Acl
'"
It
36
Autograph
of the
Autograph fragments
in Berlin, Staatsbibliothek.
look at an aria of Amaranta, written in the certainly rare key of B major [Ex.
cjjh'f
abounds here
too.
The opera
Y
r
cJ"
I% 1*
38],
The
serious element
p^pp
closes with the death of Melibeo, a really evil character. Haydn's organic
manner
opera through the choice of tonality. Thus the second finale is in E flat
major. This is also the key of the arias sung by the"serious" lovers, Celia and Fileno. As a dramatic figure, the
bad character, Melibeo, is a mixture between Calender from "L'incontro improwiso" and Don Basilio from
and so
Rossini's "Barber of Sevilla". Melibeo sings in C minor
still close enough to the E flat events
reveals his evil nature. Thus Haydn brings the counterparts together by selecting his keys. Yet "La Fedelt
premiata" is hardly a dramatic piece in spite of the abundance of beautiful music. It is almost a produced
fable. But its significance for Haydn's further dramatic development may not be underestimated. The
regrouping of the relationship of the serious partners to the comic ones actually announces the final phase
of the old Opera bufia. If the serious couple was hitherto taken from the ranks of the aristocracy, a simple
shepherd couple replaces them here, and the buffo part is only represented by the insane count Perrucchetto,
who can be taken for a precursor of the Knight Rodomonte in Haydn's "Orlando Paladino" (1782) 1 ).
This opera has the subtitle "Dramma eroicomico", which was already once used by Salieri in 1772. The
heroic-comic character is emphasised by the fact that there is not a single really serious part in this opera.
In his Haydn biography Griesinger observes: "Haydn prefers to find the comic side of a topic and usually
finds it easily." Nowhere can this be better applied than to "Orlando". The Roland theme was often treated
in literature. Bojardo started in 1495 with his "Orlando innamorato", Ariosto followed in the 16th century
with his famous "Orlando furioso". Since that time the narration of Angelica and Medoro enjoys a popularity,
of thinking again asserts itself in this
which was perhaps only exceeded by that of the Armida narration in Tasso's "Gerusalemme liberata", or
the Orpheus theme. There are four Roland comedies by Lope de Vega alone. Handel's "Orlando" and Gu*)
Autograph (incomplete)
in British
37
however, are the direct precursors of Haydn's opera. Handel's work, which
was performed for the first time in 1733, is a typical Opera seria but surpasses by far the usual type of opera
in depth of passions. Guglielmi again takes up the theme from the comic side without dropping the chivalrous note altogether. It may have been this amalgamation of chivalry and the grotesque comic element which
attracted Haydn, if he was at all acquainted with the work. We know nothing about Guglielmi's opera
having been performed in Vienna or Esterhza. Still there are common traits, and even if Haydn never saw
Guglielmi's opera, the librettist Nunziato Porta was certainly acquainted with it, for the sixth aria of Haydn's
"Orlando" has the same text as the eighth, "D'Angelica il nome" from Guglielmi's work. Moreover, both
arias are in E flat. Haydn, however, precedes it with a passionate orchestral recitative. Both operas end with a
coro in rondo. A vast amount of heroic notes is struck in the opera. In places these even attain a great independency. Yet it is all intended as farce, as a parody on an overemphasised and therefore comic heroism. The
subject is not treated in its reality. Supernatural powers are constantly interferring in the most farsical way.
In Haydn's "Orlando Paladino" we also have something of the cynical superiority which gives Mozart's "Cosi
fan tutte" or Verdi's "Falstaff" their mirror-like significance. We read it at the beginning of the last fugue in
Verdi's opera: "Everything on earth is only fun and we are being made fun of". Deviating from Haydn's
earlier operas, a great number of persons are acting in this one, and it is only this score which contains exact
instructions for the stage. One can see the joyful eagerness with which the master applied himself to this
glielmi's "Le pazzie d'Orlando",
thankful theme.
unveiled in front of the eyes of the spectators. The scene of the first act is set in a
beautiful garden, the second shows at the beginning a lonely beach by the sea and in the Finale the cave
of the witch, Alcina; the third act shows the Elysian fields. The last picture unites all actors in a small wood
for the final chorus. The frequent change of scenery and numerous transformations are not only to
enliven the action, but they are parodie in a double sense: Haydn pokes fun at the Opera seria and also
rich scenery
is
Viennese pantomime, thus creating the real basis for the comedy. Characters and situations are drawn with strong exaggeration. All this, however, is united by a clever key technique which shows
the progressive Haydn to be still the descendant of the Baroque period, despite his spiritual connection with
Mozart. One can only call this highest artistic consciousness. Orlando presents himself in two principal keys:
E flat major and A major. E flat major is his personal heroic world out of which his craze has sprung. But
persiflages the
38
by adhering to this key Haydn pokes fun at the hero in the second act, as he flees from the dragon of Alcina
[Ex. 39]. However, the moment he comes under Alcina's power in the cave (this is of course brought
a)
b)
Au
frfr [f
w
W
&
^
ihr
il
P ^^
^m ^^
HE
tJier
Wf
ver-ruch
ten Nacht
4=-
"F"
XT
fp
ge-spen-ster
xc
HufMLsra
ti
about by witchery) her key, i. e. C minor or C major, sets in, and not before he is again transformed to his
normal state does Roland sing in E flat major, whereby he plainly shows that he is not yet cured from his
craze. In the A major region he is easier to deal with and more practical, for this key belongs to the circle
in which the passionately desired Angelica moves. A major 1 ) is finally also the key of the last rondo in
is
[Ex. 40].
Allegro
mjn
U
3#w
^i
^fe
Madness when in love and heroism are the characteristics of Orlando. His counterpart, Rodomonte,
a sabre-rattling bumpkin squire. This "King of Barbarism" (this is his name in the text book) is looking
*)
One cannot
fail to
is
for
recognise the melodic relationship with the chorus of the Amoiini Divini in the second Act of Orfeo,
a duel with Roland in a quite unnatural rage. His main key is B flat major, which is also the dominant of
Orlando's heroic key. Even the overture refers to him. It strikes the ironical note which is preserved
throughout the opera [Ex. 41]. In the first act he suddenly rushes in the idyllic sphere of Eurilla and Licone,
\4i)
Vivace assai
own honour
B flat major, immediately after the G major aria of Eurilla. In the first
Finale he also sings in "his" key. Only the second act he commences with a great aria in C major. This,
however, has its reason in the fact that Alcina has transformed him by way of punishment for his fighting
craze! He has his characteristic counterpart in the flute-playing Medoro, whose wretchedness is already
revealed in the first finale. This poor lad is most unhappy in the second act. A recitative with the shepherdess, Eurilla, who is to console him, is practically over-burdened with expressive material. However, in the
moment of greatest despair Medoro sings just in Roland's E flat major, and with this beautiful aria (which is
related with Tamino's picture aria from the "Magic Flute") he awakens our sympathy [Ex. 42]. Another point
again emphasising his
(42)
Adagio cantabile
JlJi
rr |i
Dil-lecheunin-fe
^^
40
*i
,j3
li
ce,
in
un sven-tu
^^#
m
ra
fe
iJ
>r^>rrCr
STM-^ri;,
Jerr
li
toa-man-te,
in
^k
f
mez-zoaque-ste
pian-te
il
mi
se-ro pe
*==
ri
te 1
P'
fe p
taken in advance from the "Magic Flute" is Angelica's suicide scene in the second act. Great unisoni in
G minor, the lowest key in her scope, depict her uneasiness, her desperate search for Medoro and her
difficult decision to renounce life [Ex. 43]. Of course the plan is not carried out. Medoro and Angelica are
eol ouaau
basso
Or eh. cut
wren,
^^mmm
t\
MitMutwillichmein Le-benenden,dasmichbe-trogen
Ik.
it-
by the key
main
^^
strzichmichlndieWogen
vondiesenKlippen
-a*f'ff|_
w^
j,.,..^r ir r>
|
>
>
ui_
v~'
ft
a)
iiiuiii'i
of their
arias in
^^ f^tffCJi^jHi
i
on
his
own
lovers' duets
in
flat [Ex.
is,
45].
J'
rf
mr u
ii
Vit - to-ria.vit-to-ria,
Jim
MP
trom-bet-te suo-na-te
at the
(45)
41
(We
are to meet
im
it
tUfi
46].
Her key
C major
minor.
Roland, which
Haydn
is
or
a.
9-
She dominates the second Finale and forces everybody under her
^gg
spell
and above
all
"Orlando Paladino" terminates Haydn's activity in the sphere of Opera buffa and simultaneously represents a peak in the history of the comic opera. And yet a tragic sentiment is hidden behind the gay mask,
which the poet Jean Paul describes in Haydn's case as "like an expression of disdain for the world". The
eagerness for new ideals can be felt everywhere, and "La Fedelt premiata" and the heroic-comic "Knight
Roland" are, with "La vera Costanza", nothing else but a step towards wholly serious opera.
We saw that Haydn started his creative activity for the Esterhzy stage with the Opera seria
"Acide" in 1762. It was not before 1779, that is before having composed the operas "La Fedelt premiata" and
"Orlando Paladino" that he applied himself again to really serious opera. This last group comprises the
works "L'Isola disabitata", "Armida" and "L'Anima del filosofo". With "L'Isola disabitata" 1 ) begins the struggle
for a new fulfillment of the old form which, by then, was hardly fit to survive. Haydn took the text from
Metastasio, the most important opera librettist of the 18th century.
2
)
Autograph was in the Cloister of Gttweig until 1940. Otherwise the piece survives through an Elssler
MS, in the Berlin Staatsbibliothek, is, however, Haydn's second version of the work, undertaken
life for a projected publication by Breitkopf which never occurred. Of the original version there are
this
at a point
human
life.
"L'Isola
achieve with this work a revival of the opera through the music, for the libretto in its intermezzo-like shortness and lack of action seemed to create conditions which were particularly favourable for the musician.
was made
into
Q?) Vivace
te
*
/
" ri
cij-
fc#
riCr
&m
5i
8=
mmsuis
secco recitative, following a trend which was started in 1731 by Johann Hasse.
We
can
call
Haydn's opera
They
are
43
no longer "stations of sentiment" but carry further a development which has already started. In this opera we
even have a type of Erinnerungs-Motivik which has nothing to do with Wagner's later motives which recur
throughout the whole composition, but has its origin in the Opera bufia. In this connection one recalls the
1st act of "La vera Costanza", which shows this method in a very impressive manner. Thus Costanza is sitting on the beach chiseling an inscription into a block of stone. A motif sung in A flat major expresses her
spiritual conditions, and a subsequent suggestive motif accompanies her work [Ex. 48]. These two motives
Largo
b)
jfeni
vTWW err
sw
v p r vvv
fir
trr fff
/ v
jjfe
PP
p->
mh
ra
J=^
*
44
$
t
reason he followed up the development of that part of the opera with much greater care than
he used in the case of the other parts. The arias of this work leave a somewhat discordant impression. Some
show clearly their origin in the Neapolitan tradition while others continue the characteristics attempted in the
Haydn 1 ). For
recitatives.
more
this
Thus the
fifth
aria
Opera
"Come
il
The
vapor s'accende"
is
A flat major
seria.
first
aria in
this
Gernando's delicate aria in the second act. In the great quartet Finale Haydn forgets dramatic tension and
makes festive music. The overflowing joyousness takes on oratorical forms, pointing not only to his
late works but equally to Beethoven's "Fidelio". Only the second part of this copious movement returns to the
sad atmosphere of the preceding scenes. In this opera, Haydn does without detailed characterization. All
parts are firmly established types which do not change or transform. There is no psychological development,
as in the operas of Mozart, but merely a sharply- outlined embodiment of the characters to be presented on
the stage. Silvia alone is placed outside of this framework, if only by the music. Already at that period Haydn,
as a free artist, succeeded in presenting the highest virtues of general humanity to the society in spite of
Metastasio's book, which, as such, is of little importance.
Surprisingly enough, he again takes up the old form of the Opera seria in his opera "Armida", composed
in 1784 2 ). The theme was taken from Tasso's "Gerusalemme liberata". Monteverdi had taken from that epic
poem the duel between Tancredi and Clorinda; Lully presented the story of Rinaldo and Armida; Pallavicino's
opera, "La Gerusalemme liberata", brings an amalgamation of both (the text was written by Corradi). This work
was performed for the first time in Dresden and was presented in 1695 in Hamburg (also in German); it required
a tremendous scenery. Handel's "Rinaldo" composed in 1711, text by Aaron Hill, lets us recognise something
of the "unfailing character" behind the baroque intrigue, which was what Gluck demanded. The principal matter
here is the end, the "lieta fine". This well-knit "musical drama", composed in 1755, ends with Rinaldo's promise
is
1
)
2
)
Autograph, mostly complete, in the Royal College of Music, London; Autograph fragment in Harvard University Library,
Elssler copies, one in the Sandor Wolf Museum, Eisenstadt, and one in the Gesellschaft der Musikfreunde,
45
he has absolved his military service, to which Armida replies: "Go and come back soon, and be
assured that Armida will always be the same towards you." Concluding, the chorus sings: "May love never
everything which does not bring about love must be flattened to the ground." A similar version of this
die
pleasant decision can be found in Sacchini's "Armida" (in French). The work of the Viennese theatrical poet,
Coltellini, is very important for the end of the 18th century. Salieri and Righini wrote the music to it, and Haydn
also took over parts of the libretto. Coltellini brings us a sharper accentuation of the passions, which are not
as strongly brought out by the numerous scenic effects in the compositions of the two Italian masters. Haydn's
limited scenic possibilities and the desire for simplifying and concentrating, which he manifested already in
earlier works, led to quite different results. The text book, which was printed in 1784 in Oedenburg and has an
abundance of mistakes ("argomento"), gives the contents of the piece, in which it says: "The fable is well
known, and if one or the other point has been altered, this was done in order to enhance the other theatrical
effects." Alone from the fact that each scene has its contents stated separately, it can be seen how important
the action actually was. Although Haydn again used the secco recitative in this opera, he reduced it to the
absolute minimum. In exchange the accompagnato gains in importance. The overture is, as in "LTsola
to return after
<>
f#*-*E
I
BEI
i
zm
&
:-
mi
/Cs
=^S
f
JJJi
F^j ^3
3^e
Haydn draws
C major
^ mr s
It
m
m
PP
fi-
m-
tf
who
is
torn between
serves the same purpose. This struggle dominates the entire opera. In any
The witch, Armida, sings in her first aria "Se pietade avete" with
an expression which appears much greater compared with "La vera Costanza" and consciously brings out the
case,
46
type of the Opera seria. In contradiction to Tozzi's work, produced in Venice in 1755, Haydn's Armida is foremost human and a woman in love, transforming herself into a demon when she sees that she is losing
same name numbers among his best, Armida is mainly the witch,
as the old text by Quinault (already adopted by Lully) demands. In this opera by Haydn the ensembles claim
little space. The first act ends with a duet sung by the lovers Armida and Rinaldo, and the second act ends
with a terzetto anouncing Rinaldo's final decision to abandon his beloved. There is no ensemble at the end of
the opera, as this is only used with a "lieta fine". The whole third act deals with Rinaldo and his struggle for
freedom. The terzetto in the second act is the peak of the opera, due to the sharp contrast in the principals.
Armida, Rinaldo and his typically military friend, Ubaldo, all have their own theme [Ex. 51]. The structure
whose opera
At m
da:
R naldo:
Par
ti
-/fa-
ma
dol
UhaU -
-I-
Sof
mm
nn i
f*
s?\
f
w
of the
friin
ij
r
pa
j
-
j.
j'
mio
con
le
all
ma
pen-sain -gra- to
dan
na
i/]JlJ
ce
tue
fa
il
ne,
fag
che
pen-sain-gra-to
tra
di
ta io son
da
te
j
-
to
j)
.Hi
tu ra
men -ta
il
i j
tuo do
ver
the drama. For the characterization of the parts, the orchestral recitatives
no way stop at describing but rather carry each sentiment through to its logical conclusion. The enchanted wood, la selva incantata, dominates the entire drama. It is the atmosphere and the
dangerous weapon of Armida. The psychologically simple nature of Ubaldo already knows in the first act
are important,
how
which
in
all
it
is different.
He
is still
a hero of rationalism,
The enchanted
who
forest
47
tfc
g=^
its
demoniac power
J3jfi
^
^
**
*
f*rPCftT [ j is\
3=5=
still
unaware
M
^^&*
Wf p^m
ta
i=t
Jhjlj-jj^
|_Z
^^P
The
m-jn
s
|
t!>r
FT
1
dramatic decision is delayed by idyllic phases such as the appearance of nymphs. Armida herself appears
in order to enchant Rinaldo again. The conflict between morality and sensuality terminates in favour of the
former. Schiller says in his treatise "On Tragic Art": "The tortures of sensuality can only be eased by
with emphasis, the tragic artist must prolong the tortures of sensuality, which
must also exist to make the victory of morality more difficult and more praiseworthy."
The seven years which passed until Haydn composed his last opera "L'Anima del filosofo" brought him
nearer to the perfection of his work as an instrumentalist. These years also strengthened his ties with
W. A. Mozart. The storm and stress period died in the literature of the eighties. The ideal of a "higher reality"
replaced the tumultuous extravagance. The unconscious and irrational was put in its due place in this new
aim. In this sense Haydn's last opera approaches, at least in its music, the ideal of the classical drama.
morality. In order to
48
envoke
this
o ^
a
II
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Musiklreunde, Vienna.
Example
in
the
Gesellschaft
der
THE ARGUMENT
The
does not appear in the opera at all, nor is his identification clear. In the Virgil 4th Gorgie he appears as
Eristeus, a shepherd who specialized in bee-raising. He was apparently an individual of rough character;
according to Ovid he obliged Hercules to perform the twelve labors. Euridice was not in agreement with her
father's
plans,
for
she
fled
from Arideo's
coarse
attentions.
It
is
at
this
point
that
the
first
act
of
Act
Scenes 1/2. Euridice fleeing alone and disconsolate from the advances of Arideo, is discovered
bewailing her plight on a rocky beach bordering upon a dark forest. She is about to enter the forest but the
chorus (used by Haydn as a chorus in classical greek tragedy) warns her that the inhabitants of the forest
are more ferocious and dangerous than wild beasts. In the aria "Filomna Abbandonata" Euridice says that
she does not care. Even were she to be sacrificed in savage rites by the forest people, this fate would be no
worse than that from which she had just escaped. She again attempts to enter the forest, from which
the inhabitants emerge to seize her. The chorus calls for help, summoning Orfeo, who appears, and seizing his
lyre, sings an impassioned aria "Rendete a questo Seno", entreating the forest people to give him back his
beloved. His singing is so beautiful that even the hungry tigers are appeased. Euridice is rescued, to the
amazement and joy of the chorus. The two lovers slowly make their way to Creonte's palace, while the chorus
sings in praise of harmony.
Scene 3. Creonte's throne room. Creonte asks his followers if anyone knows what has happened to his
beloved daughter, who had fled from the palace. The chorus leader tells him of the events in the preceding
scene, adding that Orfeo has saved the life of Euridice, and that she loves him. Creonte agrees to their
union, although he would have liked to keep his promise to Arideo. In the aria "II pensier sta negli oggetti"
he philosophises on the inability of man to be master of his own fate. The two lovers then appear, and ask
a
I.
49
his blessing,
to
Act
Orfeo and Euridice are married and are found surrounded by a chorus of "Amorini Divini"
(Baroque angelic figures, somewhat resembling cupids) happily singing in a pleasant flowery field. They are
suddenly disturbed by a commotion off-stage. Orfeo leaves Euridice to investigate the origin of the disturbance,
but while he is gone, an emissary of Arideo, who is lurking in the vicinity, attempts to carry off Euridice to his
frustrated master. As she attempts to flee, Euridice steps upon a poisonous snake which bites her foot. The
poison quickly does its deadly work, and Euridice, with her dying breath, sings the beautiful aria in E flat "Del
mio Core". Orfeo, returning, finds the lifeless body of his wife, and in desperation sings the long recitative
and aria "Dove quel Alma Audace". He throws himself upon the body of Euridice.
Creonte then appears with his court, and when he is informed of events, he sings the great C major
aria with on-stage trumpet fanfares "Mai non fia inulto".
Act III. Scene 1. At Euridice's grave, Orfeo, Creonte, and the chorus mourn the death of Euridice. Virgins
strew flowers on the tomb. Orfeo bewails his fate, saying that now that Euridice's eyes are closed forever, his
world is dark. He goes away sadly and in silence. Creonte, expressing sympathy for him sings another philosophical aria in A major "Chi spira e non spera", in which he observes that he who despairs without hope is in
II.
Scene 2. Orfeo in desperation consults a Sybil in a rocky cleft. In answer to his entreaties a spirit (Genio)
appears, who, while advising Orfeo to take his fate philosophically, reveals to him, in the course of a very brilliant bravura aria in C, "Al tuo seno fortunato" that he may attempt to enter the underworld and bring back
Euridice to the upper world. The Genio accompanies him through the cleft, while the chorus "La Giustizia"
tells Orfeo that the Gods are kind to him.
Act IV. The scene represents both banks of the river Lethe, which divided the world of the living from
that of the dead (the Elysian fields). As the act begins, a lugubrious chorus in F minor tells of the souls of the
damned who must wait a hundred years before entering the Elysian fields. Orfeo, led by the Genio, appears at
the far bank of the river and is about to cross it in Charon's boat when the Furies appear and try to prevent
his landing. Orfeo's pleading softens their hearts, and Pluto himself appears and allows Orfeo to pass. A ballet
and chorus of souls appear, among which is Euridice. The Genio reminds Orfeo of the condition imposed upon
50
him; namely, he must not look at Euridice until they have reached the upper world. Orfeo, stretching his arms
behind him feels for Euridice's features. But Euridice, apparently not knowing the condition, places herself in
he cannot avoid seeing her. The Genio, sensing the impending disaster, leaves Orfeo to
his fate. Euridice is once more lost to Orfeo, who sings a long aria "Perduto un altra volta", bewailing his fate.
At this moment, a group of Bacchae (followers of Bacchus, who indulged in orgiastic rites, slaying all who
opposed them) appear, and make advances to Orfeo, inviting him to join in their celebrations. Orfeo repels
them with rough words, and announces to them that he forever renounces the pleasures of the female sex (in
the Metamorphosis, Books IX and X, Ovid clearly states that after the second death of Euridice, Orfeo abandoned himself to homosexual practices, and thereby incurred the warth of the Bacchae who tore him to pieces.
Haydn's librettist seems to have followed this rather closely). Angered by Orfeo's refusal, the Bacchae give
Orfeo a. cup filled with poison, which he drinks. Orfeo dies in agony, while the Bacchanti go into a furious
frenzy of delight. But a storm arises on the river Lethe, drowning the frenzied women, and Orfeo's body is
borne upon the waters, to find rest on the isle of Lesbos.
51
HELMUT WIRTH
Joseph Haydn, Prince Esterhzy's Court Kapellmeister, was 59 years of age and already celebrated in
Europe when he first stepped on English soil in the year 1791. He carried with him not only a favourable contract to compose symphonies, but a binding invitation to produce operas for the Italian Theatre in London.
As a composer of operas he had been silent for 7 years, in spite of the fact that his Opera seria, Armida, performed in 1784, had met with entire approbation 1 ) and had also been a success outside Austria. And now the
good opportunity presented itself to him in London of producing a new opera in which he would not be restricted
by the cramped conditions prevailing at his own Court Theatre.
Like his previous operas the new work was written in the Italian language. He was commissioned to
compose it by Giovanni Andrea Gallini (Sir John Gallini), once a solo dancer and for some years Director of the
Italian Opera in London. His poeta locum tenens, Carlo Francesco Badini, who had lived in London for some
25 years, wrote a libretto in 5 acts entitled L'anima del tilosoio. This somewhat mysterious-sounding title was
merely a nom de plume for Badini's version of the classic myth of Orpheus and Euridice, a new version adapted to the mood prevailing at that time.
Not very much is known about Carlo Francesco Badini. We do not even know his biographical data. The
British Museum Catalogue of 1881 enumerates a number of plays, part of which he had published under his
pseudonym, Vittorio Nemesini. The libretto of L'anima del tilosoio seems never to have gone into print. We are
therefore dependent entirely upon what is to be found in Haydn's not easily legible Autograph, the Budapest copy and the publication by Breitkopf & Hrtel. For some details about Badinij we are indebted to
Mozart's librettist, Lorenzo da Ponte, who came to London after 1790, tried to gain a footing there and suffered
in consequence from the effects of Badini's "evil eye". Da Ponte's Memorabilia and his correspondence with
Casanova, insofar as we can give them full credence, describe the Italian theatre's domestic bard as an enx
)
52
it
my
best
composition up
to
now"
[Letter to Artaria].
*)
'-)
Memorabilia, Vol.
Letter of
March
4,
."
.
53
however
54
insignificant Badini
as a libretto-writer,
^^
The
first
Presto
n
p
theme
tll!tW
Str.
m
It
is
is
F^
it.
ABB
IEEEE
n Jst
altogether
lm
thi
is
\J- J-
F minor, where
as follows:
LT
first
^^ff^ j^naP
PS
F
Such an overture could be the prelude to many a random opera, and not necessarily one of a tragic
character. Undoubtedly Haydn had merely a festive introduction to his opera in mind and wished to withhold
all dramatic conflict till the rise of the curtain, when one act after another passes before us with ever-waxing
dramatic intensity.
The
hangs over the scene from the very beginning. Already Act I starts on a dramatic note which bodes for us the impending tragedy. In a recitative* accompanied by the orchestra Euridice tells of her frantic anxiety when she is near to perishing in the forest while
escaping from Arideo, the coarse man to whom she has been promised by her father, Creonte. The atmo55
sphere of anxiety takes hold of those around her; it rises to an almost unbearable tension when the great first
choral scene begins. It is almost as if the audience itself cries out a warning to the desperate Euridice "Ferma
il Piede o Principessa"
Here lies the actual beginning of the tragedy. Even the choice of the C minor key
.
indicates the tragic potent of things to come. This chorus describes the desperate effort to prevent Euridice
from destroying herself. In tempo vivace the scene storms by. Tenors and basses sing partly in canto iermo,
weaves
itself.
fate is inexorable
Vivace
a) Str.
"
* &*
nn
S
3E
95g
p.
i
+~9
b)
:t
i\
Deh
P
per
m
pie
ta
gSEEEg g
And
it
is
la
scia -te mi
56
fer-
jBZ
ffjFer
ma il piedeo princi
w^
per
-
pes
sa
* J-
ma il piedeoprinci
pes
sa.
pes
'
sa
P-
pie -ta
la -sciajcia-te
te
mm m
S
P=?Z
of Euridice later
d
m
y
mi
t #3
~B
not the desperate dark warning of the chorus which saves Euridice. In a sudden contrasting
is as if a ray of magic light had descended on the scene when Orfeo takes up his lyre and
mood, it
with a slow Arioso accompanied only by the harp and
of
ma,
Fer
HP
yet
ass
^^
m
-
[Coristi]
H5
Fer
change
^^
p-^-jp-
~*
"'"'Horns
and that
strings pizzicati,
jures
away
in a
melodious aria in
all
The melodic
is
of Italian Bel
Canto and a
[P]
II
da
ti
lor na-sceo-gni
de-
weave
si
son
ti
ran
ni
around
no-stri af
fet
e van-tia
ti
mo
li-ber- ta
57)
co
close in
x
we
this tuneful
Orfeo
g m
In Act
their notes
me
il
fo
coal-lo
i'i
splen-do
re
M ^J
ate
u-ni
ta
brief
ray of
C-tlji
l'al
II
ma.
mi
the clouds of
light shines
The figure [Ex. 62a] etc. which appears in this aria forms the basis of the short chorus ("O poter dell'annonia")
)
directly, another example of the subtile interthematic connection between numbers abounding
in this work.
which follows
57
(58)
music
Allegretto
Fin-ch
clr
co-la
il
vi
go-
re,
*M
fin-ch
sei nelT e
:ts:
bionda, be -vil
ta
Net
ta-re d'a
mo -re
nel-la
taz
zadel pia
cer
But the disaster hanging over Euridice's head can no longer be averted. She crosses the border between
the Living and the Dead and recedes into the Realm of Darkness. Her big aria in E flat, preceded by a recitativo
is full of character-laden melodic inspiration and is as valuably significant as the songs in Act I. Once again
the melodic vitality of the strongly emotional Neapolitan School is revived. It is a conscious return to a mode
of operatic composition already out-dated but in which a master of Haydn's calibre could still produce remarkable results. (This is perhaps a favourable moment to mention Mozart's "La Clemenza di Tito" where the
circumstances are very similar.) Another example is present in Haydn's aria written for Euridice in Act I,
"Filomna abbandonata," which he had published as the first item in the abridged edition of the Opera. The
vocal line of this aria, which Haydn provides with a choice orchestral accompaniment, reminds one of Johann
Christian Bach as well as Mozart:
M
Fi
jM
pStr.
y* 9-
58
lo
me
flfllJ
Da ab-ban
do
^m
na
jiiflzJ
-
ta
spar - ge
all'
?
au
re
suoi
la
men
ti
f^'^' f^iiti^
i
fe
[J^X^
Uu-
brought into vivid contrast with quite a different temper of musical construction
when Creonte storms through his aria "ma non fa inulto". Here Haydn becomes the born symphonic writer
and seizes on the opportunity presented by the text to make his orchestral score as turbulently fluid as
possible, thus underlining in a descriptive manner Creonte's defiant attitude.
is
But the drama reaches even greater heights in the last two acts. Though of less value when regarded
separately, each act in turn gives the impression of working up towards the cataclysmic Finale. In the course
of Act III, the chorus appears four times to commiserate and console Orfeo. A two-part female chorus, aug-
mented later on by the male voices to a four-part chorus introduces Act III. It pronounces on Orfeo's bereavement but is no matter-of-fact declaration; it is rather an expression of heartfelt sympathy for the Thracian
bard.
59
Act III is, however, of special consequence because of the appearance on the scene of "Genio". This
Genius is, so to speak, the helper in need, a kind of "spare man" needed to give the drama fresh impetus. In
the older operas he came to be known as the "deus ex machina". In Gluck's "Orfeo" he appears as Eros
[Amor]. In the more tragic versions the question arises of what is to happen next. Euridice is dead. Orpheus
bereaved and disconsolate. In a way the actual drama is over. But now the Genius approaches to bring the
singer consolation and comfort in the guise of philosophy. Only now does the opera's title have meaning.
The Genius sings a tremendous coloratura aria containing about every known technical difficulty and which,
hardly affords the listener much opportunity of understanding the text. This aria is created in the
true spirit of the Neapolitan Opera traditions, a scintillating pice de rsistence for all coloratura singers but
dramatically of lesser value. But the Master's knowledge of the Italian singing technique of this period is
of course,
here fully demonstrated as well as his powers of expressing himself in the language of this brillant epoch.
Here a rationalistic idea is, so to say, transfigured by song. Ex. 62 shows a typical coloratura passage from this
aria:
di
rJ3
# ^
r
atr
stan
k*4
"
S *
EE
co
r-E'rrr
fEr^T^
m n
jB
|J
jtf
'
p dte
Ff
^^s
za
60
^iJ^^ p
di
va
lor
How
P$^
p 11
In
fe
li
fefe
3m
i
om-bre do
ci
jj.JiJ'J
In
fe
li
33
ci
H
len
*\
JWi|fJ"j
lu
to
J>
[J
stri
var-car
==*
dob
mo
bia
J^jJ^g
J>
JWt
J>
h, J.
etc.
E5
Jl
t
In-fe
3Sm
i^
cen
ti
life
Cl
J^
In
fe
Mr
ete.
r
-
li
ci
i[>j p
Pn
l
^ ^
^
-I 1
^1
/?\
-l
etc.
is
61
(64)
Vivace assai
L
+*
^6
Ur
Or-
11
or
lior-ren-di,
>f(N
ren-di,
dl-spe
&
ra
ti
ff
qui
ti
mo
si
Je
f^p
^tjw uajm
$=m
-&
di-spe
ra
ijjhf
j
3E
Sfcr.,
Trombones,
p^pj
*
gni
si
p
sen-te o-gni
ii=
men
t*
nie.
f
mo
i
'
men
to
J.
nm
r
-
to
rim
frgqjt
bom-bi di
spa
ven
up
-
bom
p
-
bi
^
di
spa
to
J.
After this compounding of dramatic energies, the death of Orfeo takes place in an atmosphere of quiet,
tranquil humanity.
To
him,
life
accompaniment
soft
SU
man
J-
\i
car la
$^
fi
rf
is
now
=^F=P
Gods speak
**
IP
again.
nothing theatrical to
words are
-~I
j-li'J
Il
*=
P
V-
w^mp-*p
scxi-ra
Orfeo
..
Sm
p*
is
J.
p-
*^?
i
fff
drum
fall
of the strings.
m
f *T
ta
Strings
ai
of the big
m pimpi
W
M
Sen- to
earthly scales
all
is
^^
ni
r con la mor-te
m
?
h,
MitJJM
-
S
m
ciel s'o
y jj*
fe p w p
f
o
gniscia-gu-ra
?*
si
a^
not yet at an end. While the Bacchae prepare to tear Orfeo in pieces
terrible
fright,
are
drowned and the stage is left bare. The severity of expression chosen by Haydn to illustrate this and the return
to the D minor key reminds one of the "Furies" music. Gradually the tide ebbs and the listener is left with a
feeling of inward convulsion and emotion, but also with the conviction of having been a witness of a great
63
if
a certain stylizatkm
of the traditional
Haydn's
testimonial to
last
his
two
musical
^fat_^ j L.-^B^ff ^;
J
^^B
From Haydn's Autograph of Orieo (p. 254); original in Preussische Staatsbibiliothek, Berlin, now Westdeutsche Bibliothek. Marburg.
From the last part of the Finale of Act IV. The order of instruments by staves: horns and trumpets I timpani I oboes , II flutes I, II
bassoons I, II / violin I / violin II / viola I chorus soprani / chorus alti / trombones I, II / violoncelli-contrabassi. Haydn notes at the
top of the left hand corner for the copyist: tympan (i) and underneath 2 oboi.
I
>j>
rro
ii
Arr
r*
'
XJ,
l/fV
.
,
,,
-,.. .,
,tf, , !!
-irsauiw
,. ,,,,..
~ .pu*...
r^! *
i-*
j^JF^
\*$
r^-jf
^ ^^-q*^^ jrr^Lji
-.
:rrEy~^r f"~H
tf^J-'l^^^S^^^L^I^^'^^-'
/Z^^i^fe^F^ii^^^
E^5
;o^.ri:_^lr
f*f ~T
\*L3 m
t
r
r
* 3
t' f
t*
"r
if-..'
93
A
page
oi
the Budapest
MS
of
Orieo in the handwriting of a copyist. In Haydn's handwriting are the words: Atto
of the second Act. Original in possession of the National Library, Budapest.
'-
*'"BP: '"*
do (Act
II).
ATTO
ACT
(SCENA
I)
(SCENE
(A rocky shore
4/4; 2 ob,
flat;
2 bass,
horns
(E flat), strings.
"wretched
(She
ob, 2 bass.
horns (E
flat),
about
to
gli
Euridice:
[
[
Go no
Chorus:
di
abitator;
is
(CORO ED EURIDICE)
C minor
Vivace;
I)
(ACCOMPANIED RECITATIVE)
(RECITATIVO ACCOMP.)
Adagio; E
at the
65
alia difesa.
(RECITATIVO) ACCOMP.
ACCOMPANIED (RECITATIVE)
Who calls me? Who desires me?
strings.
Euridice:
I know the evil will behind this smoking pire;
heart consumes in such a holocaust.
I fear no further sacrifice. Can prayer help me?
I fear no death! Tell me, you who live:
Is it easy to die with a hopeful heart?
My
ARIA
ARIA:
Adagio
(4/4)
Allegro
(4/4)i
fl,
66
nella
selva.
I,
too,
my
I,
Orribili
in original ,,prolava"
horns
(F),
strings.
2 ob, 2 bass, 2
forme setvagge
abandoned,
tell
the heavens
anguish.
too,
go forward to a tragic
fate!
(Again she
(SCENA
(SCENE
II)
(UNACCOMPANIED RECITATIVE)
(RECITAT1VO SECCO)
Un
Un
il
tuo tesoro di
Another
Un
altro:
IT)
ye Gods!
(Orfeo accorre, cercando Euridice)
sei(?)
Che
miro, oh Dio!
me
la
cetra(;) uditemi(,) infelici(,) dlia ragion, dlia virt nemici(,) non men che di voi stessi. Qual insano furor, qual
rio
tento
cielo(.)
ponga ragion
il
si
vano
malnato(,) a cosi
in-
freno.
(4/4,
alia
ACCOMPANIED
breve), B
me my
of reason
and
lyre!
virtue,
RECITATIVO (ACCOMPAGNATO)
Adagio
My
ficar l'istesso
He
flat
(RECITATIVE)
ARIA:
ARIA:
Largo assai
(4/4, alia
breve), Allegro,
flat
major;
fl,
2 ob, 2 bass, 2
flat
basso), strings.
Orfeo:
And
my
Have mercy!
in
In pity for
my
is
like
one
cry.
grief
And
horns (B
(UNACCOMPANIED RECITATIVE)
Un
Corista:
(Exits)
(Parte)
Nume
Euridice:
giorni miei(.)
amorosi
tuoi(,)
rai(,)
co'tuoi 2 )
felice(.)
may
God
Coro:
poter deH'armonia(,)
La favella
Ed
il
deli
Dell'afflitta
*)
68
In
Dei
nettare tu sei
MSS
umanit.
Suoi"
of
(CHORUS OF MEN)
my
Euridice:
4/4,
major,
2-pt.
Chorus (ten-bass,
ob,
2 bass,
2 horns (C basso),
strings.
SCENE
SCENA-III
III
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
(Seated on his throne)
Creonte: Ah,
child
who can
Corista:
caso tu desti a lei la vita(;) ma la virt
d'Orfeo(,) la sua possente lira cagion ch'Euridice
ancor respira (.)
(Un altro) Corista: Essa in consorte il brama (.) Ai voti
suoi oppor pi non ti puoi(.)
first
feet of
my
Be comforted,
Corista:
is
have wandered?
(The
tell
my
Prince!
By us Thy
child
found.
hearts.
Ye Gods,
Thy
child
was saved!
sounding
me
tell
hear!
life
to her.
for her
dear spouse.
69
mille catene(.)
chains.
ARIA:
ARIA:
Andante, E major
(3/4),
11,
strings.
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
il
cielo
alfin
per noi
risplende.
Euridice: Alfin risorge Talma opressa.
Orfeo: II genitor s'appressa.
amor
suo seguito)
Orfeo: propizio il ciel secondi(.) Avventuroso
ti sia(.) La tua flicita sar la mia.
(Parte con
70
in joy!
Euridice: Father!
Orfeo: My lord!
Creonte: Rise!
(They kneel)
(Essi s'inginocchiano)
Euridice: Padre.
Orfeo: Signor.
Creonte: Sorgete.
Euridice: II nostro
is
Orfeo:
il
il
talamo
(to
thee.
The
mine
is
thine.
down upon
is
mine and
Ma
Our
my
thee.
Al dolce suon
Euridice:
il
mio
core(.)
My
Euridice:
heart leaps up at sound of thy voice. I
am rapt in the joy of love's ecstasy.
Orfeo: Even the music of my lyre cannot tell how dear
thou art! Only know that even in heaven my soul
would mourn without thee.
DUETTO
DUET
Adagio; Allegro;
Euridice:
tesoro.
la sorte, n la
Orfeo:
Euridice: L'amor
major
fl,
2 ob, 2 bass, 2
Orfeo:
Never
my
My
Mio
Ne
morte
mio cangiar
potra.
Fine dell'Atto
End
of
Act
71
ATTO
(SCENA
(Prato
ameno
ACT
II
(SCENE
I)
vicino ad un
CORO D'AMORINI
hume)
3/4,-
I)
DIVINI
Allegretto,
2 ob, 2 bass, 2
II
is
yours,
te gli affanni(,)
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
nell'alma.
72
Euridice:
heart!
and in
Give
my
He
my
CORO D'AMORINl
D1V1NI
Amar pu
quando rgna
in
quando
amor mai non
l'et canut(,)
mezzo
si
muta
j
\
stelle(
When
Euridice:
Orfeo:
Chorus:
friendly stars,
ADAGIO; VIVACE
Euridice: Mi trma il cor(.)
1
) (Orfeo:) Che sar mai questo strepito ostile al nostro
amor(,) molesto(?)
Euridice: Mi trma il cor(.)
MS
to
addio(!)
faithful love!
flat.
(A loud noise
is
Euridice:
gods, what do I hear?
*) (Orfeo): What is the hostile sound that
voice of love?
Euridice:
heart trembles!
Orfeo: Let me not loose thee, dear one.
drowns the
My
notes Orfeo",
what
ADAGIO; VIVACE
Horns from
(Si
lips.
Euridice:
Amiche
Chorus:
Orfeo:
Coro:
yours,
al cor.
'
is
is
clef
her.
73
Euridice:
E abbandonarmi
vuoi(?)
un
(Parte)
il
Euridice:
am numb
with
fear!
(UNACCOMPANIED RECITATIVE)
(RECITATIVO SECCO)
(Un corista [Seguace d'Arideo] s'avvicina ad Euridice)
(A
Un
ha chi
No
Who
To
Numi possenti(,)
Deh vieni(!)
Euridice:
Coro:
aita(.)
Euridice: Ahim(!)
Coro:
Che avvenne(?)
(//
1
)
74
correct: cozzar".
flee is vain!
Euridice:
mighty Gods, protect me!
Corista: Come!
Euridice: Oh, woe is me!
Corista: What see we here?
Euridice: The serpent that there creeps,
His fangs did pierce me!
Corista: Oh, wretched fate!
Euridice: The subtle poison spreads troughout my
thousand beats weary my heart.
veins! I fear!
thousand fears assail my soul.
2 ob, 2 bass,
horns (E
flat),
strings.
(RECITATIVE)
(RECITATIVO)
Come
flutti di Lete(,)
Si
Non
potr rimirar
Mabbandona
il
il
mio tesoro?
My
breath
fails
me!
mio core
il
(alia breve).
Euridice:
my
of
heart
last sighs!
is
for
(Euridice muore)
(Euridice dies)
Vivace;
fl,
(Orteo torna.
Non vede
(RECITATIVE)
(Orieo returns.
Euridice)
Dove
my
(RECITATIVO)
Dove
flat 4/4)
voto estremo
Orfeo:
die!
CAVATINA
CAVATINA
Euridice: Del
fail,
He does
my
my
lifeless
body
my
ot Euridice)
75
CANTABILE:
CANTABILE:
oboe
solo, strings.
Where
L'amorose faville
Ah(,) dove sono?
Dove sono i sospiri,
beloved eyes?
is the light
of love in those
Where
the whispers,
the broken accents of love,
the passion and caresses?
tronchi accenti,
Dove
gli
amplessi
Teneri, e vivaci?
I dolci sorrisetti,
cari baci(.)
Tutto estinto per
Barbara sorte!
Hideous
me
fate!
me.
ARIA:
ARIA:
Allegro con spiritoj 4/4; F minor; 2 ob, 2 clar
Orfeo: In un
Son
Ho perduto
il
caro bene,
ma piangendo
76
ndarno
io vo.
(B),
Orfeo:
am between
and tempest
bitter pain!
spouse!
whirlwind
in a sea of
Beloved
do see
this
body! Madness
possesses me! I am despoiled
of every joy, of every magic under
lifeless
the sun.
is
with tears!
(SCENE
(SCENA
II)
(Simile ad Alto
scena
Che
Scene
III})
(UNACCOMPANIED RECITATIVE)
(The body of Euridice
Creonte:
[Same as Act
III)
(RECITATIVO SECCO)
Corista: Euridice,
che awenne?
f(,)
II)
Creonte:
Corista:
Corista: Mori(.)
What
my
is
borne
in)
lord!
occurred?
She died!
avverso fato(!)
Corista: D'Acheronte saetta(,) un angue armato sferilla 1 )
nelle piante(,) mentre essa d'Arideo s'involava all'in-
sidie
Creonte:
Creonte:
Stelle(!)
Che
ascolto(;)
Dunque
Corista: Signor
Arideo(. .)
co'suoi seguaci ei venne per rapirla(.)
Creonte: E f colui
si
audace?
to carry
He was
so daring?
Corista: Maddened in his fury and
forgetting all respect, he declared
that thou didst break faith
Creonte:
Corista: Anzi(,)
evil
enemy
vanguished! And if he
has not learned moderation,
his pride and outrageous act shall be punished!
is
x
)
correct: ,,ferilla".
77
ARIA:
ARIA:
Allegro, 4/4,
Creonte:
Mai non
fia 2 ) inulto(.)
Fulmina e tuona,
Tuona e fulmina
Cinta d'alloro la spada irata(.)
Vista scolpito che non perdona
Sorte nemiche l'offeso onor(.)
Alla vendetta(I) S'odan le trombe(!)
Clarini (sopra
il
Fine dell'Atto
78
in Autograph: ,,fa"
ob, bass
(col Basso), 2
horns
(C),
Teatro)
*)
major;
II
End
of
Act
II
ATTO
(SCENA
ACT
ni
(SCENE
I)
(Tomba d'Ewidice)
3/4;
flat
(RECITATIVO SECCO)
anima
e sui vanni
tu porti tutte le mie speranze e i miei conforti(.) Perduto ho la mia vita, eppur io vivo del mio bel sole
privo(.) Fra le tnbre io sono e sol rawiso il mio
destino reo(.)
mio costante amor, misero Orfeo.
Creonte: Rugiadosi di pianto i lumi io sento(,) e mi
pntra l'aima il suo lamento(!)
Orfeo: (piano) Euridice, Euridice (,) invan ti chiama il
tuo sposo infelice.
voi(,) canori angelli(,) d'amore il
sen feriti, o voi feroci belve, o fiumi, o fonti, o valli,
o colli e selve(,) meco tutti piangete(.) Fate tutti dlie
mie notedolenti e^co 1 ) pietosa(,) e faccia ogni sasso(,)
ogni scoglio rimbombar aile stelle il mio cordoglio.
bella(
flat),
2 bass, 2
Note
in
(etc.,
strings.
miserable Orfeo!
Creonte: I see him marred with tears. I behold his
grief, and his lament doth pierce my soul!
Orfeo: (softly) Euridice, Euridice! Thine unhappy
spouse calls thee! O sweet angels of love, behold my
wounded heart! O ye wild beasts, o fountains and
valleys, o hills and woods, all, all weep with me! Make
of my sad notes a pitying echo. Every stone, every
rock doth repeat my mourning to the stars!
depart.
da capo).
flat),
(UNACCOMPANIED RECITATIVE)
Orfeo: Ah, my love, thou hast soared to heaven, and
wilt thou take with thee all my love and comfort? I
have lost my life, I live without the sun. I wander in
shadows. I watch my fate, my constancy, my love
(Parte disperato)
horns (E
I)
Andante;
in
is
misspelt
(etc.,
giiet)
da capo)
correct eco".
79
(UNACCOMPANIED RECITATIVE)
(RECITAT1VO SECCO)
Che sar mai d'Orfeo(?)
Corista: Misero amante(,) il seno l'abbandona(.)
Creonte: Il stupo che giunge il dispensato affetto di
valor fedele a cosi grave eccesse(.) Chi perde il caro
ben(,) perde se stesso(.)
Creonte:
Creonte:
Corista:
Creonte:
wonder!
How may
him.
He who
faithful
has lost
ARIA:
ARIA:
Allegro,
major
3/4,
fl,
2 ob,
2 bass, 2
Better
suoi
He who spends
were
it
do
die.
di(.)
(SCENA
his
(SCENE
II)
II)
(Speco tenebroso)
(A dark cavern)
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
Un Genio appare
Orfeo:
my
happiness, Euridice,
my
cavern)
Orfeo:
r
)
80
Note
in Berlin
tenebroso".
Hope
is
but a delusion!
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'
Autograph oi Orfeo (p. '256), during Finale of Act IV. For further description,
see above under the other reproduction of the Autograph.
Genio:
comfort.
it
is
If
thy Nepenthe.
Orfeo: Ah, if Philosophy wishes to make me happy,
Euridice must first be returned to my aching heart.
O my love, my urge, o God, never more will I see her.
Genio: Thou willst see her again. If thou canst moderate thy mad desires!
ARIA:
ARIA:
Orfeo: Ah(,) la
Allegro,
2 bass,
horns
(C), 2 trpt
(C),
Genio: Your beloved will again be thine if with constancy and valour thou steelest thy heart. He who
made heaven and earth sees and governs all. But
beyond the shadowy veil which covers her thou must
not look.
(Da capo.)
(Da capo.)
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
Orfeo: Costanza a me si chiede? Ah(,) pria che l'amorosa mia costanza(,) che '1 mio ardor m'abbandoni(,) si
spegneran le stelle(,) diverz il sol di gelo(,) le tnbre splendenti(,) oscuro il cielo (.) La belt che m'accende invitto il cor mi rende (.) Per lei, per vagheggiarla un sol intrepido ciglio(,) son pronto ad affrontar
ogni periglio(;) non hanno orror per me gli urli feroci
del trifauce mastin(.) No, non pavento l'Eumenidi spietate(,) il pianto eterno(,) la rota, il sasso, il voratro,
my
my
brave
spirit.
am ready
to meet every peril. The pitiless Eumenides, the terrible three-headed mastiff, the wheel, the stone, the
abyss of hell
naught can
affright
me.
l'averno(.)
81
CHORUS
CORO:
1)
Allegro,
major,
2/4,
fl,
2 ob, 2 bass, 2
horns
(D),
mortale(,)
ognor
2 trpts (D),
ti sia(.)
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
Euridice(!)
Chorus da capo.
Coro da capo.
Coro: La giustizia in cor regina
(II
Fine dell'Atto
82
Tempo
etc.
lo speco)
End
III
down
by
editor.
of
etc.
Act
III
ATTO
ACT
IV
(SCENA
(SCENE
I)
Andantel) F minor,
6/8,
fl,
Chorus (S-A-T-B).
I)
(Orfeo ed
IV
spirits, grieving,
we wander,
grief.
pale and
ever seeking,
to the far
bank
of the river)
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
CORO
Vivace,
il
minor
4/4, 2
fl,
CHORUS OF FURIES
2 ob, 2 bass, 2
1
)
fier lioni
Tempo
penar(.)
horns
(D), 2 trpt
(D), 2
trombones
alti,
strings,
ruggian( )
E accompagnano i lamenti Fischiano
Ed il nostro lagrimar.
i
DI FURIE
Che raddoppiano
Fremon gli orsi
the near
serpenti
shrieks of despair
that you hear! Great
thunderings add terror
to pain. The bear's
rage, the proud lion'(s)
roar, the serpent's
hiss, join with our tears
after
Breitkopf score.
83
(UNACCOMPANIED RECITATIVE)
(RECITATIVO SECCO)
Orfeo:
Signor(,)
che
all'
ombre
tuo core(,)
dell'amor senta
imperi(,)
il
piet(!)
Orfeo:
love.
CORO
CHORUS (OF
(DI FURIE)
fl,
FURIES)
to
touch land)
Ne'campi inferni(,)
E sia la gloria e il vanto
faithful heart,
have won
(Pluto appears
(RECITATIVO SECCO)
among
the furies,
(UNACCOMPANIED RECITATIVE)
Into my kingdom, servitors eternal, guide
Pluto:
Pluto:
O
O
(Orfeo ed
il
di
ombre
Genio:
Orfeo:
O
O well-shed
O happy am
among
lovers!
Among them
is
major,
2/4,
fl,
2 ob, 2 bass, 2
horns
(D),
strings.
Euridice covered by a
(BALLET)
D
the
tears!
I
(BALLETTO)
84
Allegretto,
scatter)
veil)
(UNACCOMPANIED RECITATIVE)
(RECITATIVO SECCO)
Orfeo: Quai dolci e care note ascolto(!) O Dei del
cielo(,) o sommo Giove( ) ond' cotanta grazia e tanto
dono(?)
Orfeo:
fall
What
a te sen
CHORUS
CORO:
Allegro,
Coro: Son
major,
2/4,
2fl,
2 ob, 2 bass,
Non
tarai
horns
che sospirar(.)
(Euridice
desiri tuoi(,) se la
si toglie il
led to Orieo)
Obey
Genio:
may you
(Euridice
is
(UNACCOMPANIED RECITATIVE)
(RECITATIVO SECCO)
Genio: Sovvengati la legge(,) frena
cara Euridice aver tu vuoi(.)
chorus (S-A-T-B).
tue pne,
Ma( ) se miri la tua sposa( )
Perderai l'amato bene,
finite le
vlo)
Euridice:
Where
is
I
my
beloved,
have no
rest in
my
sweet
Heaven.
hope?
her veil)
il
menta
reo(.)
Tu
il
mo-
Genio sparisce)
flat
major,
4/4,
fl,
2 ob, 2 bass, 2
horns (E
flat),
strings.
ARIA:
ARIA:
Allegro agitato, E
Orfeo:
Mi
flat
sento languire,
Orfeo:
my
Morire mi sento,
E il hero tormento
Crescendo gi va.
I fail,
agony
is
die,
sore!
pitiless stars,
stelle spietate!
(Da Capo)
(SCENA
come
(Spiaggia rocciosa,
(SCENE
II ?)
(Rocky shore, as
1)
in
II ?)
Act
1,
Scene
1)
Although neither manuscript contains any scene directions whatsoever, the divisions as well as the nature of each scene is
clearly indicated in the body of the Text, with the single exception of the final scene. Haydn is, however, known to have stated in a
letter to Marianna von Genzinger that the opera was in five acts, the last of which he stated, was "very short". On purely dramaturgical grounds, a change of scene from the underworld to the upper world of mortals is indicated. For practical production of the opera
a return of Orfeo to the scene of his first encounter with Euridice seems logical; it is included here with all necessary reservations.
(RECITATIVO SECCO)
(UNACCOMPANIED RECITATIVE)
86
amore(,)
cessar
di baccanti si avvicina)
is
marked only
Allegro.
non vuoi
di
CORO
DI
CHORUS OF BACCANTI
BACCANTI
Andantino,
major, 3/4, 2
fl,
2 ob,
2 bass,
Women
str.
(RECITATIVO SECCO)
Orfeo: Perfide, non turbate di pi il mio afflitto core(!)
Io rinunzio all'amore e ai piacer de'mortali(,) al vostro
sesso imbelle(!)
Baccante
Cosa mai
Orfeo:
Orfeo:
(UNACCOMPANIED RECITATIVE)
False temptresses, cease to assail my sorrowing
heart! Forever do
hideous sex!
Baccante: [furious]
Come(?)
[furiosa]:
chorus (Sop-Alt).
What
Si(,)
1)
infelici(!)
thou say?
major,
3/4,
fl,
ob, 2 bass,
str.
Women
il
Orfeo a cup)
(He
Chorus: Dead
Tracio cantore.
Allegro, F major, 2/4, 2
fl,
2 ob, 2 bass,
is
immediately poisoned)
(Muore)
indication,
offers
avvelenato)
live forlorn!
Orfeo:
Coro: Morto
must
chorus (Sop-Alt).
(A "baccante"
FINALE
Andantino,
Tempo
dids't
dice(?)
FINALE
*)
strings.
is
Women
dies)
chorus.
Chorus:
D'insolito furore
s'accende
il nostro cor.
L'isola del diletto si para a noi davanti;
ivi cerchiam ricetto,
We
horns
trombones
alti,
timp (D-A),
str.
Women
chorus (Sop-Alt).
(Sorge una tempesta sul mare, con lampi, tuoni e procelle. Enormi
ondate annegano le Baccanti impazzite di tenoie)
We
(The storm gradually dies away, leaving the stage empty and dark.
The remains of Orfeo are carried away by the waters)
FINE
END
sink!
by
HAYDN
SOCIETY, INC,)
|
Music MT 100
Joseph Haydn